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20 pages, 1265 KB

Open AccessArticle

Validation of the Player Personality and Dynamics Scale

by Ayose Lomba Perez, Juan Carlos Martín-Quintana, Jesus B. Alonso-Hernandez and Iván Martín-Rodríguez

Appl. Sci. 2025, 15(15), 8714; https://doi.org/10.3390/app15158714 - 6 Aug 2025

Viewed by 1075

This study presents the validation of the Player Personality and Dynamics Scale (PPDS), designed to identify player profiles in educational gamification contexts with narrative elements. Through a sample of 635 participants, a questionnaire was developed and applied, covering sociodemographic data, lifestyle habits, gaming practices, and a classification system of 40 items on a six-point Likert scale. The results of the factorial analysis confirm a structure of five factors: Toxic Profile, Joker Profile, Tryhard Profile, Aesthetic Profile, and Coacher Profile, with high fit and reliability indices (RMSEA = 0.06; CFI = 0.95; TLI = 0.91). The resulting classification enables the design of personalized gamified experiences that enhance learning and interaction in the classroom, highlighting the importance of understanding players’ motivations to better adapt educational dynamics. Applying this scale fosters meaningful learning through the creation of narratives tailored to students’ individual preferences. Full article

(This article belongs to the Special Issue Artificial Intelligence (AI) in Educational Data Mining and Learning Analytics)

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11 pages, 501 KB

Open AccessArticle

What Game Narrative Are We Talking About? An Ontological Mapping of the Foundational Canon of Interactive Narrative Forms

by Hartmut Koenitz

Arts 2018, 7(4), 51; https://doi.org/10.3390/arts7040051 - 20 Sep 2018

Cited by 16 | Viewed by 12183

Abstract

There have been misunderstandings regarding “narrative” in relation to games, in part due to the lack of a shared understanding of “narrative” and related terms. Instead, many contrasting perspectives exist, and this state of affairs is an impediment for current and future research. To address this challenge, this article moves beyond contrasting definitions, and based on a meta-analysis of foundational publications in game studies and related fields, introduces a two-dimensional mapping along the dimensions of media specificity and user agency. Media specificity describes to what extent medium affects narrative, and user agency concerns how much impact a user has on a narrative. This mapping is a way to visualize different ontological positions on “narrative” in the context of game narrative and other interactive narrative forms. This instrument can represent diverse positions simultaneously, and enables comparison between different perspectives, based on their distance from each other and alignment with the axes. A number of insights from the mapping are discussed that demonstrate the potential for this process as a basis for an improved discourse on the topic. Full article

(This article belongs to the Special Issue Gaming and the Arts of Storytelling)

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16 pages, 2854 KB

Open AccessArticle

Conceiving Human Interaction by Visualising Depth Data of Head Pose Changes and Emotion Recognition via Facial Expressions

by Grigorios Kalliatakis, Alexandros Stergiou and Nikolaos Vidakis

Computers 2017, 6(3), 25; https://doi.org/10.3390/computers6030025 - 23 Jul 2017

Cited by 9 | Viewed by 10142

Abstract

Affective computing in general and human activity and intention analysis in particular comprise a rapidly-growing field of research. Head pose and emotion changes present serious challenges when applied to player’s training and ludology experience in serious games, or analysis of customer satisfaction regarding broadcast and web services, or monitoring a driver’s attention. Given the increasing prominence and utility of depth sensors, it is now feasible to perform large-scale collection of three-dimensional (3D) data for subsequent analysis. Discriminative random regression forests were selected in order to rapidly and accurately estimate head pose changes in an unconstrained environment. In order to complete the secondary process of recognising four universal dominant facial expressions (happiness, anger, sadness and surprise), emotion recognition via facial expressions (ERFE) was adopted. After that, a lightweight data exchange format (JavaScript Object Notation (JSON)) is employed, in order to manipulate the data extracted from the two aforementioned settings. Motivated by the need to generate comprehensible visual representations from different sets of data, in this paper, we introduce a system capable of monitoring human activity through head pose and emotion changes, utilising an affordable 3D sensing technology (Microsoft Kinect sensor). Full article

(This article belongs to the Special Issue Selected Papers from the 8th Computer Science and Electronic Engineering Conference (CEEC 2016))

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19 pages, 219 KB

Open AccessArticle

The Player as Author: Exploring the Effects of Mobile Gaming and the Location-Aware Interface on Storytelling

by Ben S. Bunting, Jacob Hughes and Tim Hetland

Future Internet 2012, 4(1), 142-160; https://doi.org/10.3390/fi4010142 - 17 Feb 2012

Cited by 13 | Viewed by 11105

Abstract

The mobile internet expands the immersive potential of storytelling by introducing electronic games powered by portable, location-aware interfaces. Mobile gaming has become the latest iteration in a decades-long evolution of electronic games that seek to empower the player not just as an avatar in a gameworld but also as a co-author of that gameworld, alongside the game’s original designers. Location-aware interfaces allow players to implicate places in the physical world as part of their gameworld (and vice versa) for the first time. In addition to empowering the player as a co-author in the process of constructing a compelling gameworld, then, mobile games eschew linear narrative structures in favor of a cooperative storytelling process that is reliant in part on the player’s experience of place. While such an author-player “worldmaking” approach to storytelling is not new, mobile games evolve the process beyond what has yet been possible within the technical and physical constraints of the traditional video gaming format. Location-aware interfaces allow mobile games to extend the worldmaking process beyond the screen and into the physical world, co-opting the player’s sensory experiences of real-world places as potential storytelling tools. In our essay, we theorize the unique storytelling potential of mobile games while describing our experience attempting to harness that potential through the design and implementation of our hybrid-reality game University of Death. Full article

(This article belongs to the Special Issue Social Transformations from the Mobile Internet)

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